Star Wars: The Force Awakens

Star Wars: The Force Awakens (12A)

USA 2015 135 mins Dir: JJ Abrams Cast: Daisy Ridley, John Boyega, Harrison Ford, Adam Driver, Carrie Fisher, Oscar Isaac, Domhnall Gleeson

How long has it been since we last had a wholeheartedly satisfying, emotionally complete Star Wars movie? Certainly not George Lucas’ critically blasted, dreary prequel trilogy that sullied the franchise in the eyes of both fans and newcomers. In all honesty, it’s probably 1983’s Return of the Jedi, although purists (and those less charitable) would clearly plump for 1980 classic The Empire Strikes Back, widely regarded as the best in the series.

What that means is we haven’t had a genuine Star Wars movie experience for over 30 years. Little wonder that the shrieking, feverish hysteria greeting Super 8 director JJ Abrams’ The Force Awakens threatens to overshadow the qualities of the movie itself. This is a franchise possessing such a powerfully in-built sense of nostalgia and goodwill that it can be hard to see the wood for the trees.

On that basis, let it be said that as a movie on its own terms The Force Awakens is imperfect, derivative with loose ends and a host of undercooked side characters. Nevertheless, whatever flaws it possesses are outweighed by what it gets right: Abrams has, somewhat miraculously, managed to inject a sense of soul and innocent fun back into the series, for the most part expertly balancing a host of new characters with a cast of returning veterans to craft an entity that looks backwards and forwards simultaneously.

The storyline picks up 30 years after the climax of Return of the Jedi, with the Galactic Empire now replaced by the insidious, malevolent spectre of the First Order. Pitted against them are the forces of the Resistance. Legendary Luke Skywalker (Mark Hamill) has disappeared, the legacy of the Jedi having passed into myth along with him. In quick succession, we’re introduced to our key ensemble, spearheaded by Jakku scavenger Rey (Daisy Ridley), ace Resistance pilot Poe Dameron (Oscar Isaac), Stormtrooper-turned-reluctant-good-guy Finn (John Boyega) and sinister, masked Kylo Ren (Adam Driver). Also along for the ride: the inimitable Han Solo (Harrison Ford), his hairy Wookie cohort Chewbacca (Peter Mayhew) and an assortment of other fan-pleasing faces. How the conflict unfolds really ought not to be spoiled.

The magic of the movie resides in that sweet spot between the nostalgic kick of familiar iconography and how the groundwork is laid for a new trilogy, of which this is the first part. When the balance works, it’s wondrous: Rey scavenging inside the downed, gargantuan body of an Imperial Cruiser; Finn removing his Stormtrooper helmet in one of the movie’s many deft, humanising moments; or the chilling shot of Darth Vader’s helmet as coveted by Driver’s rage-fuelled bad guy. Abrams’ obvious enthusiasm and respect for the franchise, ironically enough, is more genuine than anything expressed by series creator Lucas during the prequel trilogy: the mixture of practical and CGI effects is wonderful and the presence of actual, real locations is a breath of fresh air. Just a single shot of the Abu Dhabi desert standing in for the windswept beauty of Jakku is enough to pierce through the hideous, vacuum-packed fakery of the prequels.

Nevertheless, by hewing close to the storyline of series starter A New Hope, Abrams’ movie threatens to turn into a facsimile rather than its own entity. When one can anticipate the story beats on the basis of having seen this all before, it becomes a problem. Even so, the familiarity is tempered by a host of smart tweaks courtesy of screenwriters Michael Arndt and Lawrence Kasdan (the latter of Empire scripting duties), all of which help make the action steadily more engrossing. This is especially apparent when Han and a returning Leia (now the leader of the Resistance, played once more by Carrie Fisher) form two sides of an unexpectedly emotional triangle that elevates the movie into the realm of genuinely exciting blockbuster entertainment.

It’s not just the old hands that provide much-needed impetus. The younger cast members are for the most part brilliantly chosen, from Boyega’s enthusiastic dash of contemporary humour to Isaac’s spot-on derring-do. However, the show is stolen by the formidable duo of Ridley and Driver, the former a steadily empathetic, engaging lead who awakens to the power of the Force (allowing for an intriguing gender spin on the series), the latter a rampaging Big Bad whose command of the Dark Side may ultimately be undone by his impetuous, youthful rage. No longer are these archetypes but resonant portrayals that burst off the screen.

Not everyone has a lot to do: Andy Serkis’ distractingly motion-capped Supreme Leader Snoke lacks the requisite menace and Domhnall Gleeson does little apart from stride around and unleash his inner Peter Cushing as General Hux. There’s also a general sense of carrot dangling, various plot threads withheld with the seeming intent of elaborating on them in future movies. Nevertheless, with populist supremo Abrams in charge The Force Awakens makes for flawed yet irresistibly grand blockbuster entertainment: a union of film and filmmaker seemingly written in the stars themselves.

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